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Bola Sete (born Djalma de Andrade) (July 16, 1923 – February 14, 1987) was a Brazilian guitarist. Sete played jazz with Vince Guaraldi and Dizzy Gillespie.

Born in Rio de Janeiro, Bola Sete’s name means “Seven Ball”. In snooker, which is fairly popular in Brazil, the seven ball is the only black ball on the table (like the eight ball in pool), and Bola got this nickname when he was the only black member of a small jazz group.

Sete studied guitar at the Conservatory of Rio. He started performing with his own sextet and local samba groups while he was a student. His early influences were guitarists Django Reinhardt, Charlie Christian, Barney Kessel, George Van Eps, and Oscar Moore of the Nat King Cole Trio. He admired the big bands that were touring South America at that time, led by Dizzy Gillespie, Tommy Dorsey, and Woody Herman.

Verdiales are a Flamenco music style, and song form belonging to cante chico.

Originating in Almogía, near the Spanish port of Málaga in Andalucía, it is based upon the fandango. For this reason, the verdiales are sometimes known as fandangos de Málaga.

Normally played in the key of E phrygian (key of C major with his fifth sharp) and rarely in A minor, the verdiales have a 12-count rhythm similar to the soleares, and bulerías.

Robert Clifford Brown (July 15, 1910 – November 6, 1966), known professionally as Washboard Sam, was an American blues musician and singer. Brown’s date and place of birth are uncertain; many sources state that he was born in 1910 in Walnut Ridge, Arkansas, but the researchers Bob Eagle and Eric LeBlanc suggest that he was born in 1903 or 1904, in Jackson, Tennessee, on the basis of Social Security information. He was reputedly the half-brother of Big Bill Broonzy. He moved to Memphis, Tennessee, in the 1920s, performing as a street musician with Sleepy John Estes and Hammie Nixon. He moved to Chicago in 1932, performing regularly with Broonzy and other musicians, including Memphis Slim and Tampa Red, in many recording sessions for Lester Melrose of Bluebird Records. In 1935, he began recording in his own right for both Bluebird and Vocalion Records, becoming one of the most popular Chicago blues performers of the late 1930s and 1940s, selling numerous records and playing to packed audiences. He recorded over 160 tracks in those decades. His strong voice and songwriting talent overcame his stylistic limitations.

By the 1950s, his audience had begun to shrink, largely because he had difficulty adapting to the new electric blues. His final recording session, for RCA Victor, was in 1949. He retired from music for several years and became a Chicago police officer. He recorded a session in 1953 with Broonzy and Memphis Slim. Samuel Charters included Brown’s “I’ve Been Treated Wrong” on the compilation album The Country Blues for Folkways Recordsin 1959. Brown made a modest and short-lived comeback as a live performer in the early 1960s.

Joseph Rudolph “Philly Joe” Jones (July 15, 1923 – August 30, 1985) was an American jazz drummer .

As a child, Jones appeared as a featured tap dancer on The Kiddie Show on the Philadelphia radio Station WIP. He was in the US Army during World War II. In 1947 he became the house drummer at Café Society in New York City, where he played with the leading bebop players of the day including Tadd Dameron. Jones toured and recorded with Miles Davis Quintet from 1955 to 1958—a band that became known as “The Quintet” (along with Red Garland on piano, John Coltrane on sax, and Paul Chambers on bass). Davis acknowledged that Jones was his favorite drummer, and stated in his autobiography that he would always listen for Jones in other drummers.

From 1958 Jones worked as a leader, but continued to work as a sideman with other musicians, including Bill Evans and Hank Mobley. Evans, like Davis, also openly stated that Jones was his all-time favorite drummer.

Sadik Hakim (born Forrest Argonne Thornton; July 15, 1919 – June 20, 1983) was an American jazz pianist and composer.

Forrest Argonne Thornton was born on July 15, 1919 in Duluth, Minnesota. The name Argonne came from the World War I battle. He was taught music by his grandfather and played locally before moving to Chicago.

In Chicago in 1944, Hakim was heard by the tenor saxophonist Ben Webster, who took him to New York to be the pianist in his band. He appeared on some Charlie Parker recordings for Savoy Records in the following year. He toured with another saxophonist, Lester Young from 1946 to 1948, including for recordings. He changed his name to Sadik Hakim, a Muslim formulation, in 1947.

“In the 1950s Hakim played in Canada with Louis Metcalf, toured with James Moody (1951–4), and was a member of Buddy Tate‘s orchestra (1956–60).” Hakim’s debut recording as a leader was in 1962, on an album for Charlie Parker Records that was shared with Duke Jordan. “Around 1966 he moved to Montreal, where he played in nightclubs. He toured Europe for a year, played in a trio at a festival in Duluth (1976), and then returned to New York; he toured Japan in 1979–80.”

Hakim returned to recording as a leader in 1973, laying down material that was released by CBC, Progressive, SteepleChase, and Storyville Records.^[3] Hakim claimed that he wrote “Eronel”, which is usually thought of as a Thelonious Monk composition.

Alan Dawson (July 14, 1929 – February 23, 1996) was a respected jazz drummer and widely influential percussion teacher based in Boston.

He was born in Marietta, Pennsylvania, and raised in Roxbury, Massachusetts. Serving in the Army for Korean War duty, Dawson played with the Army Dance Band while stationed at Fort Dix from 1951–1953. During his tenure, Alan explored the post-bop era by performing with pianist Sabby Lewis. After being released from the Army, Alan toured Europe with Lionel Hampton.

Dawson is best remembered as an early teacher of Tony Williams, and Sawyer Brown drummer, Joseph Smyth. Other former students include: Terri Lyne Carrington, Julian Vaughn, Vinnie Colaiuta, Steve Smith, Kenwood Dennard, Gerry Hemingway, Jeff Sipe, Billy Kilson, and many others. He began teaching at Berklee College of Music in 1957. Dawson suffered a ruptured disc in 1975 which led to him halting his touring schedule, to leave Berklee and limit his teaching to his home in Lexington, Massachusetts.

His teaching style emphasized the music as a whole rather than concentrate on percussion alone. He stressed the importance of learning the melody and structure of the tune to better fulfill the role of accompaniment. For this purpose, he had students play over standards while also singing the melody out loud. He constantly strived for balance between musical ideas and strict technique. He was big on rudiments and wrote extensive exercises intended to be practiced with brushes. He believed using brushes with his “Rudimental Ritual” would reduce stick rebound allowing the sense of “picking up” the sticks. While teaching, Alan also maintained a prolific performing and recording career.

Kenneth Napper (born July 14, 1933 in London) is an English jazz double-bassist.

Napper started out on piano as a child and picked up bass as a student at Guildhall School of Music. He entered the British military in the early 1950s, playing with Mary Lou Williams in 1953 during a leave period. After ending his term of duty, he played with Jack Parnell, Malcolm Mitchell, Vic Ash, and Cab Calloway. He was the house bassist at Ronnie Scott’s Jazz Club for several years and played with many British and American jazz musicians in the late 1950s and early 1960s, including Alan Clare, Ronnie Scott, Stan Tracey, Tubby Hayes, Tony Kinsey, Tony Crombie, Jimmy Deuchar, John Dankworth, Pat Smythe, Phil Seamen, Zoot Sims, Carmen McRae, and Paul Gonsalves. Later in the 1960s he worked with Ted Heath, Tony Coe, John Picard, and Barney Kessel, as well as with Gonsalves, Tracey, and Dankworth. In 1970 he played with Stephane Grappelli and moved to Germany, playing with Kurt Edelhagen from 1970 to 1972. While in Germany he focused more on composition and arrangement; later in the decade he moved to the Netherlands, where he arranged for radio ensembles.